Abstract A practitioner's reflections on the personal and artistic journey undertaken in the creation and performance of These are not my Father's Shoes, an autobiographical performance inspired by the author's relationship with her father. Both the Halprin Life/Art Process and the RSVP cycles are referenced as part of the working process.
{"title":"All fathers are fictional : These are not my Father's Shoes ‐ a practitioner's reflections on the process of creating autobiographical performance.","authors":"Helen Poynor","doi":"10.1386/jdsp_00007_1","DOIUrl":"https://doi.org/10.1386/jdsp_00007_1","url":null,"abstract":"Abstract A practitioner's reflections on the personal and artistic journey undertaken in the creation and performance of These are not my Father's Shoes, an autobiographical performance inspired by the author's relationship with her father. Both the Halprin Life/Art Process\u0000 and the RSVP cycles are referenced as part of the working process.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44693355","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article will share the early stages of a research project about gardening and dance/embodiment, one that examines ideas of practice, activities and art. It is fragile, and a disclosing of a process in a way that we do not normally share: so often our writing is after a project or piece of research or art is completed. I am curious about the gentleness and vulnerability of revealing the first phase of something, of asking questions that are ongoing and not yet answered. I am also aware of an expanding of focus in my own life and work from dance to gardening, with all of the in-betweenness, processes and connections of that.
{"title":"Slowing and Stilling: Gardening and Releasing","authors":"P. Hudson","doi":"10.1386/jdsp_00006_1","DOIUrl":"https://doi.org/10.1386/jdsp_00006_1","url":null,"abstract":"Abstract This article will share the early stages of a research project about gardening and dance/embodiment, one that examines ideas of practice, activities and art. It is fragile, and a disclosing of a process in a way that we do not normally share: so often our writing\u0000 is after a project or piece of research or art is completed. I am curious about the gentleness and vulnerability of revealing the first phase of something, of asking questions that are ongoing and not yet answered. I am also aware of an expanding of focus in my own life and work from dance\u0000 to gardening, with all of the in-betweenness, processes and connections of that.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42102407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article shares methodological meanderings that sit at the intersection of embodiment and improvised dance ethnography. Comprised of a series of personal reflections on fieldwork, the query of ‘how does ethnography feel for the researcher?' is explored. While questions pertaining to feelings researchers encounter in the field have been probed with some depth in existing literature, these are not always connected to how the feelings of the researcher are embodied at a somatic level. Through sharing two narratives of challenging moments I have confronted in fieldwork, ideas around notions of embodiment, performing and fear, and violence and vulnerability are illuminated. Through unpacking how improvisational ethnography plays out from an embodied place, from my lived experiences as a dance researcher, there is the potential for fostering a more fully developed somatic understanding of ethnographic dance research as a practice.
{"title":"Feeling the field: Reflections on embodiment within improvised dance ethnography","authors":"Rose Martin","doi":"10.1386/jdsp_00005_1","DOIUrl":"https://doi.org/10.1386/jdsp_00005_1","url":null,"abstract":"Abstract This article shares methodological meanderings that sit at the intersection of embodiment and improvised dance ethnography. Comprised of a series of personal reflections on fieldwork, the query of ‘how does ethnography feel for the researcher?' is explored.\u0000 While questions pertaining to feelings researchers encounter in the field have been probed with some depth in existing literature, these are not always connected to how the feelings of the researcher are embodied at a somatic level. Through sharing two narratives of challenging moments I have\u0000 confronted in fieldwork, ideas around notions of embodiment, performing and fear, and violence and vulnerability are illuminated. Through unpacking how improvisational ethnography plays out from an embodied place, from my lived experiences as a dance researcher, there is the potential for\u0000 fostering a more fully developed somatic understanding of ethnographic dance research as a practice.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48226532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In synaesthesia, the stimulation of one sense or cognitive concept simultaneously and involuntarily produces a sensation in a second sense or cognitive experience. while synaesthesia has been investigated from neuroscience and psychology to social sciences and the arts, the relationship between synaesthesia and dance is largely un-researched. This article provides insight into my practice-led research project on the relationship between synaesthesia and dance improvisation, informed by somatic practice. It demonstrates the interrelation of synaesthesia and dance improvisation when performed by a synaesthete, and discusses the role of attention in this context as well as explorations of the relationship between synaesthesia, somatic practice and dance improvisation by synaesthetes and non-synaesthetes. In conclusion it is suggested that research into synaesthesia through dance and somatic practice can contribute to an integral understanding of this highly quantitatively investigated phenomenon.
{"title":"Colours on the surface of my body in motion: The relationship between synaesthesia and dance improvisation","authors":"Stephanie Scheubeck","doi":"10.1386/JDSP.11.1.25_1","DOIUrl":"https://doi.org/10.1386/JDSP.11.1.25_1","url":null,"abstract":"In synaesthesia, the stimulation of one sense or cognitive concept simultaneously and involuntarily produces a sensation in a second sense or cognitive experience. while synaesthesia has been investigated from neuroscience and psychology to social sciences and the arts, the relationship\u0000 between synaesthesia and dance is largely un-researched. This article provides insight into my practice-led research project on the relationship between synaesthesia and dance improvisation, informed by somatic practice. It demonstrates the interrelation of synaesthesia and dance improvisation\u0000 when performed by a synaesthete, and discusses the role of attention in this context as well as explorations of the relationship between synaesthesia, somatic practice and dance improvisation by synaesthetes and non-synaesthetes. In conclusion it is suggested that research into synaesthesia\u0000 through dance and somatic practice can contribute to an integral understanding of this highly quantitatively investigated phenomenon.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47774676","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article I discuss how my background as a somatic movement therapist and educator has informed my identity and current work as a higher education (HE) researcher and academic developer, or teacher of HE. I explore what it means to come from a non-traditional home discipline, and to work in a non-unified field within academia. How does it impact on academic credibility, and the practical choices of methodology and dissemination? What might a new, less traditional home discipline bring to HE research, and what problems might arise for a researcher wanting to draw on less known or regarded methods, practices or theories of research? Within somatic movement and education the ethos of embodiment, that is an awareness of the importance of the body, underlies all theory and practice. Elements of this ethos can also be found across many disciplines within academia. HE is a non-unified field that has been described as atheoretical or without an overarching theoretical base. It attracts researchers from a wide variety of disciplinary backgrounds, and yet draws strongly on social science and hard science descriptions of rigour, validity and what is considered knowledge and research. In this article I take a reflective and embodied approach to consider how this impacts on issues of credibility working in HE, drawing on conversations with other HE researchers and academic developers, and the consequences and tensions that result.
{"title":"Exploring multiple identities: An embodied perspective on academic development and higher education research","authors":"J. Leigh","doi":"10.1386/JDSP.11.1.99_1","DOIUrl":"https://doi.org/10.1386/JDSP.11.1.99_1","url":null,"abstract":"In this article I discuss how my background as a somatic movement therapist and educator has informed my identity and current work as a higher education (HE) researcher and academic developer, or teacher of HE. I explore what it means to come from a non-traditional home discipline,\u0000 and to work in a non-unified field within academia. How does it impact on academic credibility, and the practical choices of methodology and dissemination? What might a new, less traditional home discipline bring to HE research, and what problems might arise for a researcher wanting to draw\u0000 on less known or regarded methods, practices or theories of research? Within somatic movement and education the ethos of embodiment, that is an awareness of the importance of the body, underlies all theory and practice. Elements of this ethos can also be found across many disciplines within\u0000 academia. HE is a non-unified field that has been described as atheoretical or without an overarching theoretical base. It attracts researchers from a wide variety of disciplinary backgrounds, and yet draws strongly on social science and hard science descriptions of rigour, validity and what\u0000 is considered knowledge and research. In this article I take a reflective and embodied approach to consider how this impacts on issues of credibility working in HE, drawing on conversations with other HE researchers and academic developers, and the consequences and tensions that result.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44474208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The writing becomes a limbed extension – a dance – inked on shore and paper by a body moving in these artist pages. The author poetically captures the process of engaging in the 22nd annual Kokoro Dance Theatre Society’s Wreck Beach Butoh Intensive: a nine-day in-studio period, followed by three outdoor performances: on the shores and in the waters of Vancouver, Canada’s Pacific Ocean. Preece captures the days in a poem, synthesizing felt experience with elements of the daily choreography and context, offering palpable, personal and sensual tellings of one woman moving through process, practice and performance. Although specific, the poems remain accessible – interpretable and relatable to the reader – as fresh offerings, as movements themselves.
{"title":"Body inking: butoh: (a poetic narrative): ... artist pages","authors":"Bronwyn Preece","doi":"10.1386/JDSP.11.1.81_1","DOIUrl":"https://doi.org/10.1386/JDSP.11.1.81_1","url":null,"abstract":"The writing becomes a limbed extension – a dance – inked on shore and paper by a body moving in these artist pages. The author poetically captures the process of engaging in the 22nd annual Kokoro Dance Theatre Society’s Wreck Beach Butoh Intensive: a nine-day in-studio\u0000 period, followed by three outdoor performances: on the shores and in the waters of Vancouver, Canada’s Pacific Ocean. Preece captures the days in a poem, synthesizing felt experience with elements of the daily choreography and context, offering palpable, personal and sensual tellings\u0000 of one woman moving through process, practice and performance. Although specific, the poems remain accessible – interpretable and relatable to the reader – as fresh offerings, as movements themselves.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42272936","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Realigning the interrelationship between documentation, choreography and the lived moment of performance, this article asks how choreographic documentation practices can be reimagined to articulate deeper layers of embodied knowledge beyond a focus on movement patterns or gestures. Entrusting the dancer to drive the process, accentuating their expertise in perceiving and analysing bodily sensation, the article proposes a series of experimental documentation methods. These include the use of verbal language, the breaking down of choreographic continuity and linear phrasing, and ‘enactive’ filming, with repetition as an exploratory tool. Developed through practice, these methods consider the use of available technologies (laptops, smartphones, etc.), informed by theories of enactive perception. By relieving the tension between the immediacy of performance and choreography as a framework of previously defined choices and limits, the article focuses on the dancer as the primary asset in the documentation process, advocating their agency in articulating interior knowledge and lived bodily experience in documented forms.
{"title":"The dancer as documenter: An emergent dancer-led approach to choreographic documentation","authors":"Sandra Parker","doi":"10.1386/JDSP.11.1.67_1","DOIUrl":"https://doi.org/10.1386/JDSP.11.1.67_1","url":null,"abstract":"Realigning the interrelationship between documentation, choreography and the lived moment of performance, this article asks how choreographic documentation practices can be reimagined to articulate deeper layers of embodied knowledge beyond a focus on movement patterns or gestures.\u0000 Entrusting the dancer to drive the process, accentuating their expertise in perceiving and analysing bodily sensation, the article proposes a series of experimental documentation methods. These include the use of verbal language, the breaking down of choreographic continuity and linear phrasing,\u0000 and ‘enactive’ filming, with repetition as an exploratory tool. Developed through practice, these methods consider the use of available technologies (laptops, smartphones, etc.), informed by theories of enactive perception. By relieving the tension between the immediacy of performance\u0000 and choreography as a framework of previously defined choices and limits, the article focuses on the dancer as the primary asset in the documentation process, advocating their agency in articulating interior knowledge and lived bodily experience in documented forms.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46074943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This special issue emerged from the two-day Symposium Wright-ing the Somatic: dancing & writing Professional Practice that we curated at Middlesex University in August 2016 https://vimeo.com/274485377 . This symposium was the first in a trilogy we have subsequently curated (Narrating the Somatic: gathering voices, sharing practices https://vimeo.com/274482762 in Feb 2018, and the forthcoming Queering the Somatic: interrupting the narrative in November 2019). The Symposiums have been clustered around an interest in how we move through, between, and across the communication of dance practices in order to share our processes for, and understanding of, the moving body. The Symposiums respond to calls to find resonant ways to share the embodied/emplaced perspectives and knowing(s) that the somatic practice of dance gives to artist-scholars as they engage with dance, become dance, or witness dancing. [Editorial]
{"title":"‘Wright-ing the Somatic: Narrating the Bodily’","authors":"Adesola Akinleye, Helen Kindred","doi":"10.1386/JDSP.11.1.3_2","DOIUrl":"https://doi.org/10.1386/JDSP.11.1.3_2","url":null,"abstract":"This special issue emerged from the two-day Symposium Wright-ing the Somatic: dancing & writing Professional Practice that we curated at Middlesex University in August 2016 https://vimeo.com/274485377 . This symposium was the first in a trilogy we have subsequently curated (Narrating the Somatic: gathering voices, sharing practices https://vimeo.com/274482762 in Feb 2018, and the forthcoming Queering the Somatic: interrupting the narrative in November 2019). The Symposiums have been clustered around an interest in how we move through, between, and across the communication of dance practices in order to share our processes for, and understanding of, the moving body. The Symposiums respond to calls to find resonant ways to share the embodied/emplaced perspectives and knowing(s) that the somatic practice of dance gives to artist-scholars as they engage with dance, become dance, or witness dancing. [Editorial]","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/JDSP.11.1.3_2","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48271598","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article addresses the concept Body as Archive in the context of contemporary Jamaica, a nation simultaneously grounded in Christian Religiosity and rooted in African Cosmology. Body as Archive is identified here as an understanding of the body that recognizes bodily artefacts as stored in individual and collective bodies for future generations to excavate, critically interrogate, re-craft and/or restore and deploy in the fashioning of present-day individual and community identities, life possibilities and future world imaginings. At its core Body as Archive is the work of the imagination to manifest the body as both archive and artefact, both a space for the collection and recording of historical memory and remembrance and itself an expression of memory and re-membrance. In contemporary Jamaica Body as Archive encompasses notions of beauty, the role of dance, and the significance of performance around and about the Jamaican female body. Embedded in this current exploration is an interrogation of the ways in which the bio-political imagination of past generations inform the excavation and deployment of bodily artefacts in the present.
{"title":"Chat to Mi Back: Meditation on body archive","authors":"C. Webster","doi":"10.1386/JDSP.11.1.49_1","DOIUrl":"https://doi.org/10.1386/JDSP.11.1.49_1","url":null,"abstract":"This article addresses the concept Body as Archive in the context of contemporary Jamaica, a nation simultaneously grounded in Christian Religiosity and rooted in African Cosmology. Body as Archive is identified here as an understanding of the body that recognizes bodily artefacts as\u0000 stored in individual and collective bodies for future generations to excavate, critically interrogate, re-craft and/or restore and deploy in the fashioning of present-day individual and community identities, life possibilities and future world imaginings. At its core Body as Archive is the\u0000 work of the imagination to manifest the body as both archive and artefact, both a space for the collection and recording of historical memory and remembrance and itself an expression of memory and re-membrance. In contemporary Jamaica Body as Archive encompasses notions of beauty, the role\u0000 of dance, and the significance of performance around and about the Jamaican female body. Embedded in this current exploration is an interrogation of the ways in which the bio-political imagination of past generations inform the excavation and deployment of bodily artefacts in the present.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42904954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article details the unique pairing of dance and writing, the likes of which are often considered two very different beasts. It examines how approaches to movement improvisation have been used to form and inform innovative methods of entering into the act of writing from the experience of dance. The argument authenticates the current renewed appreciation for the possibilities of writing to enable further creative critical engagement. Consequently, the meeting of creativity and criticality is one in which the dancer playfully explores and examines the suchness of one’s dancing. Suchness is therefore understood as the unique sum of qualities experienced by the dancer – the point at which clarity and closeness facilitate connection through the images, feelings and sensations evoked by dance. In summary, the article outlines the relationship between dance and writing, before exploring the methods used to facilitate a dancer’s assimilation and validation of what happens for them when they dance.
{"title":"Expressing suchness: On the integration of writing into a dance practice","authors":"Gemma Collard-Stokes","doi":"10.1386/JDSP.11.1.115_1","DOIUrl":"https://doi.org/10.1386/JDSP.11.1.115_1","url":null,"abstract":"This article details the unique pairing of dance and writing, the likes of which are often considered two very different beasts. It examines how approaches to movement improvisation have been used to form and inform innovative methods of entering into the act of writing from the experience\u0000 of dance. The argument authenticates the current renewed appreciation for the possibilities of writing to enable further creative critical engagement. Consequently, the meeting of creativity and criticality is one in which the dancer playfully explores and examines the suchness of one’s\u0000 dancing. Suchness is therefore understood as the unique sum of qualities experienced by the dancer – the point at which clarity and closeness facilitate connection through the images, feelings and sensations evoked by dance. In summary, the article outlines the relationship between dance\u0000 and writing, before exploring the methods used to facilitate a dancer’s assimilation and validation of what happens for them when they dance.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49443288","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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